All Superheroes Must Die
Release Date: January 4, 2013
Director: Jason Trost
Writer: Jason Trost
Cast: Jason Trost, James Remar, Lucas Till, Lee Valmassy, Sophie Merkley
Plot: Four Super Heroes find themselves abducted by their Arch Nemesis and are forced to compete in a series of challenges in order to save an abandoned town full of kidnapped innocent civilians.
Update: This was originally a 2011 shoestring film entitled VS, released on the After-Dark film circuit. A totally ignored film, and possibly justifiably so, it looks like it is getting a rename, and a new marketing push for a 2013 DVD release.
The premise of ALL SUPERHEROES MUST DIE sounds like a mashup of a bad SAW sequel and a really bad FOX super-hero movie. Which could have merit if done well, but figure the odds of that.:)
However I’m more than willing to be proven wrong. HANCOCK going by the trailers and premise looked awful, and turned out to actually be a very good flick with a great ending. It would be nice if this movie was more than a straight to VOD disaster.
But I’m not betting on it. .
This is a special Wednesday Words Review as opposed to our normal coverage. Enjoy:
SUPERMAN ACTION COMICS by Grant Morrison- Starts off impressively, but true to just about everything I’ve tried by Grant Morrison it loses its way in the middle, and completely falls apart into uninteresting storytelling by the end. The first chapter is very strong. The second chapter is strong till the last few pages. The third chapter, again strong, but loses it in the last few pages as Morrison tries to build his overarching story, which I’ve come to the conclusion he’s not really good at. He’s a great idea guy, but going from imaginative idea to compelling and satisfying storyline/wrap-up is a leap Morrison has always, in my estimation, failed at doing. He’s the X-FILES of comics.
From issue #4 up is all the over-arching, high-idea storyline, and the problem with it is… it is incredibly uninteresting. And it stays uninteresting till it limps to what has come to be a norm for Grant Morrison, a poorly told, to the point of near incoherence ending. And it is not a point of not getting Grant Morrison, as his cult is quick to jump to, it’s a point of his writing stops being in anyway a compelling and fun story, and feels like a chore and dissertation that the writer himself has long lost any interest in. And the variable art quality doesn’t help. Another Morrison D-. The only real saving grace of the series is the enjoyable, exquisitely written and beautifully drawn backup strips by writer Sholly Fisch and artists Brad Walker and ChrisCross. The backup strips are an easy B+. I wish Sholly Fisch had written the main story rather than Grant Morrison.
Final Grade: D- for the main Grant Morrison storyline. B+ for the Sholly Fisch back up stories. So can’t recommend buying the book but if you can get it for free from a friend or the library, the backup strips are worth a look.
Kerry Conran’s SKY CAPTAIN AND THE WORLD OF TOMORROW is one of the most sumptuous, imaginative and ground breaking films of all time.
That said I can see why it failed at the box office when released in 2004. The main issue is pacing. There is too much movie to comfortably sit through from beginning to end, and not feel the fat.
True to Conran’s initial impulse, the movie is very much a serial, and works better broken up in chunks, or perhaps enlivened by Chapter Breaks. Which makes it the perfect film for DVD, but not so much for the theatrical experience.
However in terms of visuals it very much deserves to be seen on the big screen. This is seemingly Conran’s first and only film, and what a film it is. One that shall only increase I think in import and prestige, much as the closing song says, ‘As time goes by’.
If you have never watched the film before, or watched it only once, I would say revisit it. I picked up the DVD for less than rental price, and around the third attempt I finally made it all the way through the film, including special features.
In a word… impressive. Try it for yourself!
This is a work of fiction. Any resemblance to a mad tirade is a complete coincidence.
Quick update, we have the WEDNESDAYS WORDS installment scheduled for tomorrow, that’s going to be a rough one, to get out on time. And I want to get up the MONARCHS OF MAYHEM interview with Charles Saunders for Thursday, which will push part two of 15 FAVORITE PULP HEROES into the weekend. So yeah just check back this weekend for part II.
But to give you pulp fans something in the interim, I bring you… The War on the Public! A mad, slightly quixotic rant (for those of you who’ve never seen me rant before… run away. The water is deep here, and in the words of Alan Moore, “the idea of a God… a real idea.” ) :
CONDE NAST vs BLACK MASK – This is an oldie but an interesting read nevertheless about the first significant volleys in the war to eradicate public domain.
Here are some additional public domain links:
Public domain, public domain, public domain. Why is it disappearing? And Why should you care?
Well the first question is simple, it’s disappearing because people with money can make it disappear. It’s disappearing because of greed.
‘But’, you say, ‘there have always been rich people. and there have always been greedy people, so why is it disappearing now?’
Well it is disappearing now, because business has made such inroads into having the ear of our senate and house, and our courts, that the people who previously were elected to represent the citizens, are instead representing corporations.
The second question, “Why should you care?” I can’t answer that for you, I can only tell you why I care.
Now as a creative person and a writer, and as a friend of writers, I believe in copyright. I think it’s a great thing. But I also believe in Public Domain, and I think that is an equally great thing.
And I think before big business stepped in with their “more, more, more” mindset we had a perfectly workable compromise.
When I was coming up, public domain was very simple, after 50 years, a concept went into public domain
It became the property of the people. Of we, the people.
The writer doesn’t stop being the creator, he is still the creator, his or her name is still on the work. It’s just that after fifty years, his creation can be used by others.
The idea being that if an idea or concept has survived for 50 years that a/ it’s enough time for the creator to profit, sans competition, from the creation and 2/if people are still talking about a character or an idea 50 years later it has become part of the cultural conversation. It has become like an urban legend or a myth or a tale of Grendel and Beowulf, something that transcends the teller. Something that is part and parcel of a larger conversation and the basis for new creations.
(And notice I said people, Public domain is about insuring people, creators get compensated in their lifetime, it is not about ensuring the perpetual unending market share for an undying corporation. Why are companies, that don’t even have the welfare of this country at heart, given the right to lobby our representatives like citizens?
Companies that I can assure you don’t pay the percentage of tax that I do. I’d love to see Disney and Exxon and Shell paying 20% of their income a year in taxes. This nation would not have a deficit.
Corporations shouldn’t in a civilized world, have more rights than citizens. They don’t care about creators, they don’t care about this nation or any nation, they care about themselves. Which is fine if they are not drafting the laws for an entire nation, but they are, so their lack of concern for what is best for anyone besides them… becomes a problem.
A corporation without a sense of cultural and social responsibility… is a mob, to be watched, to be feared, and ultimately to be put down.)
That’s how culture and art works. New things building upon the old. And old ideas being re-imagined into the new. But the coming of the 21st century saw greedy companies rather than earn customers through the new, instead adopt a policy of profit through protection rackets, through intimidation.
So you get corporations lobbying for aggressive changes in the laws of copyright and trademark and patents. And suddenly public domain is an enemy for corporations to avoid and destroy at all cost, instead of what it should be, a necessary part of making old ideas the birth ground for the new.
Art doesn’t get made in a vacuum, it’s part of a continuing conversation. And we are made better for that open resource, for Universal Studios being able to do their version of Frankenstein or Dracula, and for Hammer Studios to be able to do their version, and for any writer or indie filmmaker to be able to do their version.
Without having to clear the usage of Mary Shelly’s concepts with Disney, or Bram Stoker’s concepts with Time Warner, anyone can do a Frankenstein children’s book, or produce a Dracula song or stuffed animal. And that’s wonderful, and cute, and beautiful, and healthy. So it’s about creativity, but it’s also about healthy commerce, and true free enterprise. Companies that want to generate wealth in a country, rather than just taking wealth out. And by Wealth I mean more than money, I mean the ability of people to be able to produce and own products of cultural recognition and interest, without having to pay tribute and protection money… to monopolies.
It’s especially galling to hear from these pompous companies, when the characters they are looking to lock down are, in many cases, popular inspite of them.
Who has kept the Shadow and Doc Sampson and even Spider characters viable? It wasn’t the bloody companies. The pulps and old time radio shows exist not because of the companies, that couldn’t erase the tapes and dispose of the pulps fast enough, it was the bloody collectors. These insane, lovely human beings, who threw together out of their own pocket, these things called conventions, at a time when a company’s initial response was, “Why are they talking about that lame, dead crap, come see my latest Disco Ball action figure! Look at the nerds still talking about the Shadow and Doc Sambo, or whatever his name is! Hey Nerds, the 1930s called they want their hero back! Ha! Ha! Ha!!”
(I just made myself chuckle)
Unfortunately much to businesses’ amazement, this old stuff, due to the passion of fans, actually had staying power. And if anyone has been to a movie theater in the last couple decades, monetary value.
However, as I’ve said before, it was the people, the collectors, the very obsessive types who corporations seek to criminalize today as filesharers, infringers, etc.,, that have saved and preserved much of the culture we now are able to still enjoy, that without them would have been lost.
I love the Old time Shadow radio shows, along with many other radio shows. Those shows, those great pieces of not just entertainment, but of art and culture and history largely exist, not because of Conde-Nast, or insert corporation here… those shows exist because rabid collectors, copied them off the air, made copies, and shared them down the years.
Same with the pulps. Same with silent movies, and sound movies, and film noir.
In the absence of companies finding a monetary value for something they destroy it. They erase over the tape of Doctor Who, they throw out the audio tapes of the Shadow, they burn original artwork of cartoonists.
Why? Because the number crunchers at companies, are not the creative people, they weren’t then and they aren’t now. They make decisions based solely on dollars and cents, and that tunnel vision is always flawed when dealing with work that is also about the imagination of man.
An ‘only Dollars and cents’ mentality will let what is quirky, and manic, and fun, and childish, and challenging in this world die. So these gentle angels of our nature survive because of people who love them. People like the owner of BLACK MASK. Rather than suing that man, Conde-Nast should have got down on their knees and thanked him.
Because he and his kind, collectors preserve these things, when Conde-Nast could not see financial gain to them. But in the wake of renewed interest from Hollywood at the end of the 20th century, and the gangbusters showing of comic and pulp related properties, suddenly everybody wants to sweep in and be the owner of old things made new.
Here’s the thing about public domain. It doesn’t stop you from making money if you have a good idea and a good product. So you don’t need to take Doc Savage or Shadow or Spider out of public domain, to do a book, or a movie, or a audio drama or a cartoon.
No one is stopping you. Build it and they will come. I don’t need to buy Spider Books or Shadow Books, however I do so all the time, when I see a great packaged product. However, if you’re a morally bankrupt company, that has no intention of putting out an attractive product, I can see how competition may not be for you. And you try to sue yourself into business rather than earning business.
And that is where we are at with these companies. They are so petty and greedy for every single penny, it is sickening.
Those…. bloodsuckers!! (Sorry, couldn’t resist! )
Disney’s one of the biggest companies in the world, they can throw around 200 million dollar movies, like you and I throw around nickles, and yet they are afraid to death if a grade school kid creates and passes out her mickey mouse comic.
You can not have it both ways. You can not want something to be culturally iconic and generational, yet remain proprietary and exclusionary. No. We are creatures raised to spread stories over an open flame and for that story to travel from person to person, being changed by each person, owned by each person, passed on by each person, and becoming changed and new and different with each telling.
If you look at all the martial arts, they are pretty much the same art, changed over time, and over region. And we as a culture are better and stronger and richer for that migration, that cross pollination, that cross ownership… we are better for having silat, kung-fu, aikido, hapkido, capoeira, savate, kenpo, krav maga, systema… etc., we are better for free association, no fences, open source, public domain.
We have always been better for it. But now in the last few decades, fences are being put up by a few gatekeepers, on everything. And that cannot stand.
It is an unsupportable policy/mindset, utter control of the culture, art, and interactions of a mass of people by a few outside those people. There is a name for that, and it has always been the same name.
Because if you think that it is a nightmare and an outrage just getting rights to a song to use in your film or project or play, imagine wanting to do your short film of Poe’s TELL TALE HEART, and being told you have to get that approved through Disney, and if they approve you, fees start at $500000.
You wouldn’t have a filmmaker like Roger Corman, if the copyright and trademark environment of today was in existence yesterday. And then you lose all his Poe films, you lose all his collaborations with Vincent Price, you lose his part in the ascension of creators like Nicholson and Howard and Coppola. And who knows what we all lose for loss of those mad, creative cranked out Gothic films.
All that because one man was allowed to follow his muse without crippling interference or exorbitant costs imposed by ‘rights’ holders. How many possible Cormans are we killing, in multiple fields, today? Killing them because we are allowing dinosaurs to sit on our shared cultural conversation and art like a dragon sitting on eggs.
Doc Savage is public domain. Superman is Public domain as much as Robin Hood. Batman is public domain. The Shadow is public domain. Fifty years is a good run for exclusive rights to profits. None of this nonsense about renewal of copyrights, or trademark used to get around expired copyright.
[And speaking of trade-mark. MARVEL and DC have 'jointly' trade-marked the term 'Super-Hero". What is that about? So tomorrow do you trade mark the term 'hero' or 'myth' or god'? Do you trademark the term God? Who is at the trademark office just handing out the rights to every word in the dictionary to the highest bidder?
They haven't begun invoking it yet, their 'super-hero' trademark, largely because I think they are waiting for some of the smaller comic companies to fold up shop, and don't want a challenge to come up when their hand isn't strong enough. But Like Microsoft, make no mistake, they will give it away for free today, to set themselves up to own the market share and charge you through the teeth tomorrow.
All you small comic-book companies need to come together and publish one big omnibus anthology called 'Best Super-hero Tales' or something, and get that trademark challenged and thrown out today. Now while the challenging is good. and all the old creators they are waiting to die before they can bring evidence, are still around. Because if you don't, mark my words, ten years from now anyone who wants to use the term 'Super-hero', in the title to anything, will have to pay for the pleasure.]
I’m not saying companies can’t continue to sell and market their items past the 50 year mark, but what I am saying is that everyone else can produce their take on that idea as well.
(Quick aside here… A word on this copyright extended to 70 years after a writer’s death nonsense. Who the heck does that benefit, if not the money grubbing corporations? Did someone just say ‘the family’?
This isn’t about your family, fool!
Your family can make money, sell books, shoot movies, whether or not your book is in the public domain. We all know, the rights to a writer’s work ends up snatched up by the publisher. And with only about half a dozen conglomerates owning all the book publishing divisions as it is, that’s a troubling proposed consolidation of intellectual property.
See, what we’re talking about is every work after 1923 [that is the date today, tomorrow they might push it back to works in copyright being only stuff before 1823], all the accumulated wisdom, and hopes, and dreams, and pathos, and joy, and horror, and striving, and yes fighting against oppression of millions upon millions of writers, being owned, with this continued push toward extermination of public domain, the wealth of the world… owned by half a dozen oligarchies. What greater betrayal could there be? To any writer, to every writer. To have the work of the most imaginative, and moral people (which is what on a whole, I find writers to be), owned by people bereft of either imagination or morality.
And to that plan, of mad, sick twisted companies, their dream of a world devoid of public ownership, I say the only thing I can say, the only thing a life-time of loving books has taught me to say to such over-arching presumption and tyranny. I say… no. )
Public domain can work for all
Disney will still have Mickey Mouse, but if Tarantino or Seth Green or anyone wants to do a Mickey Mouse movie, they can. I’m not saying DC/Time Warner can’t still make Batman or Hulk comics or movies, but I’m saying past 50 years from date of creation, so can everyone else. How about a Batman movie by Werner Herzog or a Superman tv series by the Hughes Brothers?
Both those ideas just made me chuckle.
I can’t say you won’t get your share of train wrecks with such freedom, but you’ll also get get your share of wonders. You’ll get Baz Luhrmann’s Shadow next door to Branagh’s Doc Savage. And we are made richer when we can build on the culture we grew up in, rather than this new corporate policy of paying tribute to entrenched monopolies, Disney’s Culture or Time Warner’s culture.
This is very much a land grab, but not land rights this time, not water rights, not airwave rights (which they recently removed from Americans), this is about dreams… being fenced off.
We are on a perilous path. When I think of how much we have lost in the 6 years since Conde Nast sued BLACK MASK out of existence, it gives me pause. Because it is very much a culture where only the few will own anything, that we are pushing toward.
Not software, not hardware, not books, not houses, not music, not comics, not land, not our airwaves, perhaps not even our food or our air, do we get to own. Where everything we interact with is rented to us, is timed, our reactions to it… judged, to insure they are in acceptable non-infringing levels.
That is the end of culture my friends.
Fiction you say?
Yes… Fiction, I say.
Want to learn more?
Want to fight? You? Want to fight? After all I told ya Boy, ya want to fight the dragons of the world?! Swing at windmills like your uncle HT?!!
Aye, you bring a tear to an old man’s eyes. Aye, if I had five more like ya, I could ride into hell and put out all the fires!
Well get ya some education first boyo, read the following takes on public domain:
It’s a start.
CR Fight Article – Yet another Brit! Where the hell are the Americans working to repeal copyright extension! Hold on, I’m still looking.
EFF- Ah, here’s the beloved Yanks! Over there! Over there! And the Yanks are coming! The Yanks are coming! Over there! WHAT??? Don’t you guys watch James Cagney musicals?!!
Yeah, yeah.. it’s pretty stupid, and horrible. But I have to admit… it made me chuckle.
As far as why… Well I’ve been meaning to put up a couple strips for a while. And have been trying to network, collaborate with a couple of artists, but I’ll let you in on a secret, artists aren’t really the most reliable bunch for collaborating or networking with… at least the ones I’ve been dealing with.
So rather than wait on people to grow up, I decided to just ‘what the heck’ it, and just go ahead and create and post something that would make me laugh.
Hence this very brief, very juvenile ‘cut and paste’ cartoon courtesy of one of the free cartoon generators out there, The art is crude, but the insane story and words and madness is all me. Hope you enjoyed it. If you do, leave a comment and some likes!
It’s a work in progress experiment, that will improve if you guys will stick in there with me. Thanks!!
WEDNESDAYS WORDS is a new weekly installment that ranks the most interesting, intriguing books of the week (old, new, reissues, digital, etc). Contributors represent a variety of genres and sources. Each book includes Title and publisher blurb.
Robert S. Duncanson, 19th century Black romantic painter (The Sigma Pi Phi series)
Parks, James Dallas.
ROBERT S. DUNCANSON: 19th Century Black Romantic Painter.
Washington, DC: Associated Publishers, Inc., A Division of the Association For The Study of Afro-American Life and History, Inc., 1980.
x, 60 pp., 25 b&w illus., chronol., catalogue of works. Appendices include letters from Duncanson and note from Mrs. Ruth E. Showes, “A Relative”; letter concerning Duncanson’s illness from his wife Phoebe. 8vo (24 cm.), cloth.
When the Death-Bat Flies: The Detective Stories of Norvell Page- Best known for his Spider pulp stories, scribe Norvell Page was a master mystery writer as well. This 800-page book collects over 30 of Page’s detective stories from the pages of DETECTIVE TALES, THE SPIDER, DETECTIVE FICTION WEEKLY and STRANGE DETECTIVE MYSTERIES, most of which have never been reprinted before. Includes an all-new introduction by Will Murray.
Three short thrillers that offer variations on the theme of the innocent person caught up in murderous events. Dead Dolls Don t Talk (1959) allows a juror to find out what it s like to be on the other side of the law. Hunt the Killer (1951) is the story of a man just out from prison who is newly framed for a killing he didn t commit. And Too Hot to Hold (1959) is a case of mistaken identity that escalates when greed takes the place of common sense.
“Reading Page is like grabbing a live electrical wire. . . . Once you take hold, you can’t let go until the story comes to an end. Page paced his stories at one speed only-runaway locomotive.
“When it comes to writing grab-your-throat and hurtle-you-along at a hundred miles an hour fiction, there’s nobody better.”
—Robert Weinberg, from his introduction
From the author of The Spider, here are seven tales of weird mystery and strange crime. Follow Ken Carter as he unravels seven strange cases.
Bonus: Also included is a 1935 article by Norvell Page explaining his approach to writing.
With an introduction by Robert Weinberg.
Cover art by Walter M. Baumhofer.
City of Corpses
Statues of Horror
The Devil’s Hoof
The Sinister Embrace
“How I Write” by Norvell Page
In steamy Shreveport, Louisiana, two musical legends-in-the-making come together: a whiskey-soaked country singer named Hank Williams and blues artist Muddy Waters. What they’ve got in common over several hectic days of drinking, singing and whoring is an interest in staying alive despite local mobsters, bent cops, and a truckload of Ku Klux Klansmen. Then there’s the bankrobber’s daughter.
The Spider VS. The Empire State: The Complete Black Police Trilogy [Paperback]
Norvell Page – THEY SAID IT COULDN’T HAPPEN HERE. THEN THEY SAID ONE MAN COULDN’T STOP IT! Richard Wentworth spent his vigilante career as The Spider always in the shadows. Now evil acted in broad daylight. The Party of Justice swept into office, rewriting the laws of New York state overnight to benefit their criminal backers and make slaves of its people. This American Reichstag gave itself sweeping powers and raised a private army to exert its malevolent will. How could The Spider hope to stop a criminal conspiracy as big as the state itself? This time The Master of Men would go beyond taking the lives of evildoers… by bringing Hope to the tyrannized citizens of the Empire State! The “Black Police Trilogy” is author Norvell Page’s classic pulp fiction Nazi allegory from 1938. Originally published in three consecutive months of The Spider Magazine, the novels “The City That Paid To Die”, “The Spider at Bay”, and “Scourge of the Black Legions” are collected in book form for the first time! The Spider VS. The Empire State: The Complete Black Police Trilogy
The WEDNESDAYS WORDS column is a new blog feature, appearing (you guessed it!) every Wednesday. Come back next week to see which books make the list!
If you’re a publisher, writer, or other creative representative looking to submit items for WEDNESDAYS WORDS, just leave a comment on this post with your email/contact info, comments don’t get posted they come right to me, and I’ll reach out to you with the snail mail details.
And as far as readers, if you see items on WEDNESDAYS WORDS you’re considering purchasing then, if you are able and would like to support this blog, please utilize the attached links.
Your helpful purchases through those links, generates much appreciated pennies to keep this blog running. Your feedback and support… just way cool, and way appreciated. Thanks!
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So where does Joss Whedon’s AVENGERS rank on the list of best comic-based movies?
Pretty high actually.
Well here’s my biased list of my 15 favorite Comic based movies. The ones I find… re-watchable.(Only caveat being I tried to list only one film per series, the best film of the series, to leave room for others).And it’s pretty much in order of re-watchability. Which film can I view at anytime because it’s that… good and timeless?
Well it starts with SUPERMAN THE MOVIE, still not just one of the best comic book films, but one of the best… films. My top 5 are movies I can leave on repeat in my house and grow not sick of.
SUPERMAN THE MOVIE
IRON MAN II
HANCOCK (horrible title, horrible marketing, horrible poster, saved by a fantastic 2nd half)
DOLPH LUNDGREN PUNISHER (The best of the Punisher Films. Fun, ninja-decimating flick. )
MATRIX (Has not dated well, but still strong enough to make the list)
And a few honorable mentions, BATMAN (1989), DARK KNIGHT, HISTORY OF VIOLENCE, DARK MAN, UNBREAKABLE. Feel free to suggest any you think I may have missed (me? never! I got all the good ones! ) in the comments section.
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You are reading this either because you saw the film and want to compare your experience with others, or haven’t seen the film, and want to get a general idea of what people thought of it. I’ll answer both demographics, without going into details about the film.
I think most of you coming to this blog know, my grumpy persona aside I’m not a contrarian. I’m not one of these IMDB idiots who rate all films either 1 or 5 (on a 5 star system, I use a 4 star system), the concept of grading and gradations seemingly lost on them.
That said neither am I a bandwagon jumper who is going to praise a film when it’s trendy to do so, and eviscerate it when it is trendy to do so.(SUPERMAN RETURNS and TITANIC being two movies with more than their share of flip-floppers).
I often listen to pod-casts, and it is amazing how often you can hear one person excited by a film, but then his friends don’t like the film, so you can hear the person backtrack from his/her position, so they can be in line with the likes of their ‘friends’.
An anthropologist might define it as a clannish race survival technique (“Bubba let’s go lynch that thar 12 year old boy, for looking at that thar white woman.” “Why Bubba Senior, that thar’s a fine idea. Hyuck. Hyuck. Hyuck.”), I’ve always just defined it as cowardice.
I’m saying my good opinion or my bad is not formed by the whims of the mob.
Never has been. Never will be.
So if I give you a review you can be sure it is my review, my considered opinion… and I stand behind it.
So my considered opinion on the AVENGERS movie?
Joss Whedon, whose other film this year CABIN IN THE WOODS I wasn’t a fan of (more due to the first time Director on that film, than to Whedon’s script), here in his role as Director and Writer, knocks this film out of the park.
THE AVENGERS is… I’m trying to avoid hyperbole here, leaving that to everyone else, but it has to be said… it is a FANTASTIC film.
It’s as smart as CABIN IN THE WOODS, but with Whedon behind the camera you also get characters and moments you really care about. You get the pathos to go with the pomp and circumstance.
I mean how do you pull this off? The culmination of all these films, all this planning, all these actors, how do you pull it together and make it work and make it live up to expectations? It is really an amazingly ambitious film, a daunting prospect, and Joss Whedon… does it.
It’s really rare for me to laugh out loud in a film, I laughed out loud numerous times in this film, just because it is so knowing, and so sharp, and so biting, and so friggin fun!!!
I’m so glad I went into this film without watching a bunch of trailers or features, or ruining any surprises because I just had a ball. And along with the fun, Whedon gave space and weight to the tragedy, something that is glossed over sometimes in epic films. The weight and cost of this battle. Whedon never loses sight of the street level view, the common men and women caught in the midst of a war of Gods and Monsters.
The humanity he imbues the attack scene with is reminiscent of Mimi Leder’s phenomenal direction in the criminally underrated Clooney action film PEACEMAKER. Where every loss and every life… was felt.
And going along with that, for a big, loud, blow stuff up action flick on par with Bay’s TRANSFORMERS:DARK OF THE MOON (which the battle scenes bear a resemblance to) everyone gets a chance to actually act and emote in this film. Whedon’s TV/Buffy dialog/experience serving the film well.
Every principal actor really gets a chance to shine, Scarlett Johanson, Samuel L. Jackson, Mark Ruffalo (Who I didn’t think could fill Ed Norton’s shoes, is phenomenal. Both as Banner and the Jade Giant he has some of the great scenes/lines in the film), Downey, they all bring it. And big kudos to Tom Hiddleston who plays Loki as more than one dimensional, but with charm and depth to match his machinations.
Anything more would be me… gushing. Suffice to say, if my math is correct this is the 6th Marvel Studios film, the culmination of half a dozen years, and their shared Universe experiment, and they pull it off. Creating a cinematic climax to this multi-year and multi-film storyline that is actually bigger and better than the films leading up to it.
I’m seldom the guy to tip my hat to MARVEL, but you have to give them their due. STAR WARS couldn’t do it (RETURN not quite living up to the greatness of EMPIRE), STAR TREK every other film is bad and they are all one off stories, BOND also is one off stories, INDIANA JONES no, MATRIX… no, LORD OF THE RINGS … no, but Marvel Studios managed to end their ambitious story… even stronger than they began it (Though it is worth noting that the heart of this whole AVENGERS cinematic concept, starts with one writer, Mark Millar of WANTED and KICK-ASS fame. His vision is what Marvel Studios followed from page to screen. And in the dozen years since his ULTIMATES comics, his involvement is perhaps not credited as much as it should be).
The AVENGERS storyline that began with the first IRON MAN, went out on a high-note with this film. Arguably only Harry Potter could claim to have as effectively told a story over multiple films. Plus they give us a great teaser at the end, can you say…. awww but that would be telling!
Go see the film. It’s earned its praise. Highest Recommendation A+.
And read more about the Avengers, here [Definite spoilers ]:
And these books will get you up to speed with the teaser at the end of the film: